Science Fiction Films

"Let me ask you something. Does believing you're the last sane man on the planet make you crazy? 'Cause if it does, maybe I am."

"[After destroying a robot about to attack Calvin] Ya know, somehow, "I told you so"? [Shrugs] Just doesn't quite say it."

"Do I look like I care what you think? DO I LOOK LIKE I GIVE A SHOOT WHAT YOU THINK?!"

"[To Robertson] Look, this is not what I do but, I have an idea for one of your commercials: You could see a carpenter, makin' a beautiful chair, and then one of your robots comes in and makes a better chair, twice as fast. And then you super-impose on the screen: "USR. Shittin' on the little guy." That would be the fade out."

"[Describing his view on robots] There's nothing in there. [Points to his chest] It's just lights and clockwork."

"In its first five days, “Aliens” took in a healthy $13.4 million at 1,437 theaters. Seven years after Ridley Scott’s space- noir classic “Alien” first arrived, “Aliens” looks like the runaway hit of the summer and may even surpass “Top Gun” when all the counting is done. But “Aliens” almost didn’t make it to the screen. In an era when it seems as if half the current releases are sequels feeding off yesterday’s fare, “Aliens” almost crashed and burned. At one point, 20th Century Fox, the studio releasing the film, nearly sold the rights to the sequel to the producers of “Rambo.”"

"Trevor Steedman - Private Wierzbowski"

"Tip Tipping - Private Crowe"

"Cynthia Dale Scott - Corporal Dietrich"

"Daniel Kash - Private Spunkmeyer"

"Colette Hiller - Private Ferro"

"Ricco Ross - Private Frost"

"Mark Rolston - Private Drake"

"Al Matthews - Sergeant Apone"

"Jenette Goldstein - Private Vasquez"

"William Hope - Lieutenant Gorman"

"Bill Paxton - Private Hudson"

"Paul Reiser - Burke"

"Lance Henriksen - Bishop"

"Michael Biehn - Corporal Dwayne Hicks"

"Carrie Henn - Rebecca 'Newt' Jorden"

"Sigourney Weaver - Ellen Ripley"

"Thematically Aliens also expounds the set-up further. Central is a continuation of Scott and Dan O'Bannon's (the original screenwriter) bogeyman hypothesis — what if a lifeform was so attuned to survival it became the perfect killing machine and as such garnered a degree of Darwinisitic respect, even form its prey? Ash in Alien, lunatic android though he was, praised the monster for its "purity", even Ripley, confronted by the duplicity of company man Burke (Paul Reiser), has to admit that "You don't see them fucking each other over for a goddamn percent-age!" Then it really gets going: Alien as giant phallus (and now there's a whole army of them) versus feminist heroine. The feminist subtext is hardly "sub" at all, Ripley is one of the strongest female characters in movie history. Closer to Cameron's heart, and a theme that recurs throughout his work, is the preservation of the nuclear family. With Newt rescued and Ripley taking on the role of surrogate mother we only need add Hick's gentlemanly (but by no means dominant) father to complete our model of perfect family unit (the other survivor, the android Bishop, well, he's either a kindly uncle or the pet dog or something). This whole notion is finally boiled down to a remarkable battle of maternal instincts — Ripley defending her child Newt; the queen Alien defending (or, at least, avenging) her children — summed up memorably in Ripley's battle call: "Get away from her, you bitch!" The biology of the species has been developed to the point where empathy if not sympathy is acceptable. And if you want to keep this up there is the 'Nam in space metaphor: unseen "gooks" mounting stealth attacks and the retreating Yanks totally undone by a tactic and mindset they cannot comprehend (a metaphor for US foreign policy?). Yet none of such academic noodling is ever at the expense of the thrills. Cameron understood fundamentally the basis here was a gut reaction. Aliens construction of action scenes, its build-up of tension and its final execution of combat is a marvel to behold (the film literally provokes a physical reaction). These are characters we care about, headed up by a resourceful heroine who is pitted against a formidable enemy in a thoroughly believable environment. Pure movie."

"What also counts here is execution. Cameron accepted Scott's (and, of course, H. R. Giger's) design ethic — gloop, scaly bits, loadsa teeth and long, dark, dingy, dripping corridors — but reinterpreted them as a battleground rather than a haunted house. The point he grasped straight away is that you can't win against this foe or the stigma, the sheer terror that this endomorph engenders would be lost. You can only escape. He replaced Scott's "behind-you" tension with a muscular fury, unrelenting, sweaty-palmed, pant-filling movie intensity. Nothing before or since has locked the viewer in with such an all-consuming sense of peril (audiences and critics actually complained of physical discomfort even illness upon exiting the auditorium)."

"Aliens is the perfect sequel. The Empire Strikes Back, while certainly a better film than Star Wars, was more a polished segment in a longer story than a stand-alone adventure. But Aliens is the model for every potential sequel-maker: it connects irrefutably with the events of the original (even to the point of starting exactly where the drama left off, albeit 57 years later) and expands on all the ideas and themes while simultaneously differentiating itself. The same, yet entirely different. Perfect. It also stands as testament to the unwavering vision and icy nerve of James Cameron (here directing only his third movie). Utilizing the bombed-out skeleton of Battersea Power Station to create the vast industrio-grim colony/hive setting for events, he was faced with a veteran British crew who had worked on Alien and worshipped the ground Ridley Scott walked on. What could this Canadian punk kid know? Well, for starters that in this case more is, indeed, more. Not just a single, ruthless, unbeatable killing machine but an army of them. On home turf."

"September, 1985: “Aliens” finally started shooting on a London sound stage. After all the debate and questions about the budget, Hurd and Cameron brought in their movie on schedule and on budget. The studio loved the dailies and the buzz began to leak out: “Aliens” just might be the sleeper hit of the summer. But there was one more bitter struggle preceding the film’s opening. Fox wanted a movie of two hours or less but Cameron’s print came in at a lengthy 2 hours, 17 minutes. Nowadays, studios rarely release movies longer than 2 hours, 5 minutes, because the length cuts the number of daily screenings from five to four, substantially reducing the box-office take. For Fox to have the extra showing, Cameron would have had to cut 12 minutes. Late April, 1986: As Cameron and Hurd were working on their final “mix” (joining sound and picture together), Rudin flew to London to see their cut. Said Cameron: “We were standing on this London sidewalk and Rudin asked us if there was anything that could be cut. But we felt that if we had to take out 12 more minutes, the movie wouldn’t make sense.” Rudin acquiesced."

"When Fox insisted that it would make “Aliens” with or without Weaver, Cameron and Hurd quit again, this time taking off for a honeymoon in Hawaii. Said Hurd: “We assumed it was a dead issue, and when we left for Hawaii we thought the movie was off.” But when they returned, the movie was on--with Weaver as the star. According to those close to the negotiations, she was paid close to $1 million in compensation plus a percentage of the profits, the highest salary she has earned to date in her career."

"Fall, 1983: The 42-page treatment, written in three days, was submitted to Fox where, because of lack of support for the idea, the project went into its own form of hyper-sleep. Said Cameron: “An executive told me he didn’t like the treatment because it was wall-to-wall horror and it needed more character development.” At one point a deal was almost closed to sell the rights to the sequel to producers Mario Kassar and Andrew Vanja (“Rambo”) but the lawyers couldn’t close the deal. Prospects for a sequel looked dim. July, 1984: Independent producer Larry Gordon was hired to replace former studio production head Joe Wizan. Finding few projects in the production pipeline, he looked for possible sequels and came across the “Aliens” file. “I couldn’t believe it hadn’t already been done,” Gordon said. “In this business there are those decisions you agonize and lose sleep over, but this was so obvious. It was a no-brainer.”"

"Today, the lines for “Aliens” snake around the block even for weekday mid-afternoon screenings. The line to take credit for making “Aliens” is only slightly shorter. If movie-making is a collaborative art, the story behind the making of “Aliens” offers classic evidence that the number of contributors increases exponentially with the success of a film."

"“For better or for worse,” said Hurd, who currently produces The Walking Dead. “All of a sudden, sequels, which were not common then, became considered a little more viable.” “A lot more viable,” Cameron interjected. “At the time we made Aliens, the rule was that a sequel would cost twice as much and make half as much. So, it never looked like a particularly good business model.” Hurd said Aliens established a rulebook for making a quality sequel: “As opposed to formulaic filmmaking, go to an auteur and have the auteur write the script and reinvent the story while staying true to canon.” “It’s about answering a question they didn’t know to ask, but when they see it, it seems obvious,” said Cameron."

"”Sigourney set the bar. I was in awe of her before I ever met her. I had her picture up on the wall while I was writing the script,” said Cameron, who directed her to an Academy Award nomination for the performance. “No actress had gotten nominated for Best Actress for a genre picture until then, not for science fiction or horror.” “I was just starting Gorillas in the Mist, which was an intimidating project because I had to play a real person and I had never done that,” Weaver recalled. “So it [the Oscar nomination] was a real shot in the arm. I didn’t realize it was groundbreaking until Jim told me. He still thinks I should have won.”"

"Before he started developing Aliens, Cameron had a different kind of extraterrestrial-themed project in mind, tentatively titled E.T. That name, of course, changed once he learned of Steven Spielberg’s film — Cameron retitled it Mother after its maternal themes. The script languished until he started developing the Alien sequel. “I cribbed some chunks from [Mother]. But it seemed to fit very well,” Cameron told us. “In the same way we needed to evolve and ratchet up Sigourney’s character, we needed to take the nemesis — the idea of the alien — and take it to another level. It was kind of staring us in the face: There was this ship filled with all these eggs. … Who laid the eggs? Continued Cameron: “Now, a scene that was removed from Ridley’s film showed there was a closure of the life cycle where the humans were cocooned and became eggs. We just threw that out. In my mind, I didn’t go against canon because that scene hadn’t made it into the release cut. So, I thought, ‘You got a mother someplace.’ Now you’ve got two mothers. Obviously, I never went anywhere with [Mother] — I just stuck it all into Alien 2.”"

"Despite the relentlessly bleak and pessimistic view of future humankind, Aliens sings an ultimately joyful song, and I will always love it for the bold self-assurance with which Cameron does Heinlein and out-does Scott."

"But the film’s many fine touches more than balance out the occasional clichés and annoyances. We cut from an alien larval parasite’s spidery legs gripping the head of a space farmer to a close shot of Ripley’s spidery fingers manipulating a cigarette. Cameron enjoys giving us Kubrick references: reverse tracking, especially long corridors; a kid riding a three-wheeler; human talks in alien environments; sidewise tracking cameras discover characters and events around corners; scenes are introduced and enhanced by drums; we’re won over by an android as logical and as humanly fallible and wistful as HAL. There’s even a tough-talking, verbally abusive sergeant whose attitudes and phraseology recall Gunnery Sergeant Hartman (but wait, that can’t be a Kubrick reference since Full Metal Jacket didn’t come out until after Aliens…) Aliens also shares Kubrick’s atmosphere of a desensitized future; but here, feelings aren’t deadened, but heightened. It’s more Clockwork Orange than 2001 everyone is edgy, resentful, suspicious, abusive; their only humor is insult-humor. These are the ‘80s, the era of The Road Warrior and dozens of other junkyard futurism films in which human behavior has been stripped to the essentials and human emotions reduced to raw-edged anger or screaming terror."

"What’s not to like? There are a few things, including four of my seven least favorite movie clichés: sitting bolt upright from a dream, yelling “no” at something that’s already happened, outrunning an explosion, and having a computer voice remind us that time is running out. Newt, the little girl who is the sole survivor of an ill-fated farming colony on LV-426, is witty, wise, and brave beyond her years, but when the chips are down she has nothing to contribute beyond screaming repeatedly. The marines talk in a 1970s idiom (“check it out,” “badass,” “get it on”) even though the movie is set in a future by which, surely, those vacuous expressions—which sounded false even in 1986—will be unheard of. Their weapons are so impractically huge as to be more comical than impressive. Indeed, most of the film’s machinery seems designed with its human interface only half thought-out, creating the impression of future man as a kind of industrial junkyard hybrid. And of course this underscores the mirroring effect of the android: a machine that is almost human interacting easily with humans who are almost mechanical."

"No futuristic plastic fantastic technology. Metal takes over, and dominates the look and sound of the film. Sigourney Weaver’s wonderful, resourceful Ripley doesn’t just continue the tough-woman role but transforms and refines it until she out-Rambos Rambo, succeeding where the military cannot. And of course there are the Marines—the “mechanized infantry” of Robert Heinlein’s Starship Troopers, which Cameron boldly adopted a decade before Paul Verhoeven’s film and dropped into Aliens about forty minutes in. We have references to a “bug hunt,” getting the shakes before a drop, female pilots, cameras mounted on the Marines so leaders behind the lines can see what the troopers on the point are seeing. Cameron clearly loved Heinlein’s novel and found a way to film it by dovetailing it neatly into his sequel to someone else’s film of someone else’s vision."

"What returns from Alien: creepy egg chamber, spidery face-clinging larval parasite, chest-bursting imago, search missions in dark and wet places, a race against a nuclear self-destruct device, android malfunctioning and going literally to pieces, corporate conspiracy to obtain an alien at the cost of innumerable human lives, the airlock as weapon of choice, and the nasty suggestion that it isn’t all over (embodied there in a cat, here in a little girl, both apparently red herrings). What’s new in Aliens: Cameron replaces the timeless lethargy of Ridley Scott’s space and the sweaty, stultifying boredom of life on an intergalactic freighter with frenetic pace. Aliens grab you immediately and never lets go; it seems much shorter than its 2:17 running time (and even the 2:34 restored/enhanced edition released in 1999 streaks by with white-knuckle kinetics)."

"CORNISH: OK, remind us the difference between 1979's "Alien" and what came seven years later in "Aliens" with an s. Like, fundamentally, what's the difference in plot?"

"Weaver: Looking back, I’m always astonished that they trusted me to flame the dummies and shoot blanks into the stunt guys and bazookas into some of the other targets. You know, we just went for it. And luckily I didn’t kill anyone."

"Monday, July 18, marks the 30th anniversary of the debut of Aliens, so EW asked Weaver, director James Cameron, and producer Gale Anne Hurd to reminisce about that final knock-down drag-out. Cameron: I did the initial drawings. I presented them to Stan Winston, and then the next thing was, all right, now how are we going to do this damn thing? Because you got to remember, there was no CGI back then. So, you know, we’re talking about big puppets, miniature puppets, and maybe some guys inside it, and I said, well, I think you can put guys inside this thing. I think you can put two people inside it. He thought I was nuts. So we did a test where we built a frame that could hold two people. Hurd: You’ve got to remember the state of computers back then also, this was not a time of microcircuitry that’s as advanced as it is today. There were robots in manufacturing lines, and we used some robotics in the film, but it was first generation. If it could be choreographed with people, it’s much easier to tell someone what you want to do and how to change something in a nuanced way. And it’s less likely to break!"

"In a summer of disappointing sequels, it’s a pleasure to announce that Aliens is every bit as good as the original. That said, it’s also quite different, which is probably why it succeeds where other sequels have failed."

"Fifty-seven years on, Ripley is discovered - Sleeping Beauty in space. Plagued by nightmares and surrounded by sceptics, she's forced to return to the resting place of the original alien's mother ship with a bunch of seen-it-all-before Marines. Confidently directed by James Cameron (heretofore known only for 'The Terminator' and 'Piranha II'), this sequel dares to build slowly, allowing Weaver to develop a multi-dimensional character even as it ups the ante by fetishising the Marines' hi-tech hardware and spawning legions of aliens (the suspense involves guessing which group will be cannon fodder). There is always an interesting tension in Cameron's work between masculine and feminine qualities. When it finally hits the fan here, we're in for the mother of all battles."

"Long after the thrills and chills wear off, I would argue that Aliens will be remembered not for its military saltiness, but for the role that Weaver takes to full-bodied heroics."

"Count me out of the fan club for this one. To me, Aliens is one extremely violent, protracted attack on the senses, as surviving space explorer Sigourney Weaver again confronts the spiny, slithering creatures who killed her buddies in the original film, Alien. Some people have praised the technical excellence of Aliens. Well, the Eiffel Tower is technically impressive, but I wouldn`t want to watch it fall apart on people for two hours. R."

"[Aliens is] a sequel that exceeds its predecessor in the reach of its appeal while giving Weaver new emotional dimensions to explore."

"Director James Cameron’s continuation of Ridley Scott’s Alien is long on brawn and short on brains. Too many Marines, too much noise, and too many acres of heavy hardware clutter up the scenery."

"The original Alien was a haunted-house movie, brilliantly transposed to outer space. Claustrophobia was its primary tool of terror, and it featured a gross out unparalleled in movie history. Aliens writer James Cameron had the good sense to try to make a different kind of movie. Aliens resembles less its predecessor than The Terminator."

"[L]ittle touches make Aliens much more fun than the run of the science-fiction genre. And its creatures are much more ingeniously mean than the gremlins of two summers ago."

"Watching a movie like "Aliens" on home video cannot match the terror from a big screen, at least for me. The security of one's own living room is reassuring, and so is that omnipotent off button on the VCR. But if you make the commitment to watch "Aliens" -- and I think you should -- you will see something quite remarkable. Not only is terror sustained for more than two hours, but also the last 20 minutes -- Weaver's final confrontation with the queen bee of the aliens -- has to to be one of the scariest horror sequences ever filmed."

"The rest of "Aliens" is basically a series of search-and-destroy missions in the bowels of an abandoned structure on a far-off planet. But the way the creatures are stalked, and the slow, me-thodical steps the marines take before suddenly confronting them, make for superb drama. Some-times, even though you know the nature of the enemy, not knowing when or where it will strike is more terrifying. And so it is with this wonderfully filmed thriller. Whereas the original "Alien" was a bit too laid back for my tastes, with its characters spending too much time sipping coffee and waiting to be devoured, skewered and decimated, "Aliens" has no such flaws. It is a continual series of furious encounters with the aliens, who are multiplying rapidly."